Opera Gala – Ayr Arts Guild (Scottish Opera)

‘Baritone Cumming is the more accomplished stage animal and his turn as Belcore in the Donizetti – making his entrance from the back of the auditorium on this opening night – all but steals the show.’ The Herald (2026) 

‘Bristling with personality, their performances…oozed charm and instant adaptability. Dance of the Trojan Women set the scene for Cumming’s noble vision of Valentin’s Act II aria Avant de quitter ses lieux.
Love’s frustrations found a lofty emotional outlet in Cumming’s rapt performance of the lesser-known Questo amor, vergogna mia from Edgar.’  VoxCarnyx (2026)

La Boheme (Somerset Opera)

‘Young baritone Ross Cumming has immense talent and his on-off romance with Stephanie Berner’s Musetta was compellingly real.’ The Fine Times Recorder (2026)

‘The quartet of Robin Jeffcoat (Rodolfo), Ross Cumming (Marcello), Tom Clough (Colline) and Dominic Bowe (Schauard) are perfect – each so individual with strong personalities and voices to match… the quartet in Act Three, ‘Addio dolce svegliare alla mattina!’, is a real highlight and staged really effectively, the four voices blending perfectly.’ Theatre Plays UK (2026)

The Dwarf (Wexford)

‘Ross Cumming’s profound baritone lends Chancellor Don Estoban tremendous authority’ OMM (2025)

‘The singers all proved to be more than capable of delivering the intensity of the work…Charlotte Baker as her attendant Ghita also came across very well as did Ross Cumming as the Chamberlain-storyteller.’              OperaJournal (2025)

‘Chamberlain Don Estoban (Ross Cumming and the many smaller female roles (maids and Infanta’s companion) were all well sung and looked good – as in weird – in Lisa Krugel’s designs under Maksym Diedov’s flexible lighting’ Artsdesk (2025)

Marriage of Figaro (Cumbria Opera)

‘Baritone Ross Cumming takes the titular role of Figaro. A leading performer in roles at Opera Holland Park and Grange Park, he embodied the spirit of Figaro splendidly here, displaying a great comedic character and singing with richness and splendid enunciation.’ Operawire (2025)

‘Ross Cumming’s Figaro was virile, confident and engaging – a playmaker prepared to take risks. This Figaro was a delight to the ears and the eye.’  Seen and Heard International (2025)

Trouble in Tahiti (Buxton Opera)

‘(The Double Bill) works brilliantly well…bringing out both the ambiguity of the Bernstein piece’s snapshot and the depth of the tragedy in the Poulenc – a remarkable achievement…an artistic triumph for all concerned and is the most successful production of the Festival so far.’ Theatre Reviews North (2025)

‘The Trio comprises Chloe Hare-Jones, Harun Tekin and Ross Cumming, tightly-knit vocally, moving energetically round the stage.’ Classical Music Daily (2025)

‘The three trio members a lightly-worn jaunty irony in their numbers, slickly oscillating between comedy and tragic in their commentary.’ Classical source (2025)

A Matter of Misconduct (Scottish Opera)

‘Ross Cumming’s rakishly sung deputy Prime Minster Cumming’s portrayal of his meltdown and train-crash press conference was superb. All the cast were terrific and each got a moment to shine. Ross Cumming brought out the right combination of desperation and culpability in Roger Penistone, the best of a bad job as politician.’ The Stage (2025)

‘It is there that the ambitious MP Roger Penistone (fine baritone Ross Cumming on brazenly arrogant form…a master of comic timing and broad farce) is preparing to launch his bid for the leadership of his party and the country.’ OperaNow (2025)

‘Director Laura Attridge elicited outstanding performances from this tightly knit ensemble – all but MacDougall are Scottish Opera Emerging Artists – and they excelled in delivering fabulous and often challenging vocal lines.’ The Guardian (2025)

‘Ross Cumming covers a gamut of emotions as the hapless politician, with an expressionist nightmare scene a particular highlight.’ Bachtrack (2025)

‘Ross Cumming (Emerging Artist) was a robust Foreman o the Jury…each give outstanding, energetic performances…This double bill is a tremendous showcase for Scottish Opera’s emerging artists the performances here promising a very bright future.’ The Times (2025)

Opera Highlights (Scottish Opera)

‘Baritone Cumming is the more accomplished stage animal and his turn as Belcore in the Donizetti – making his entrance from the back of the auditorium on this opening night – all but steals the show.’  THE HERALD (2025)

Albert Herring (Scottish Opera)

‘His opposite number, Sid, was played as a slobby lad and finely sung by Ross Cumming’  MUSICOMH (2024)

‘The cast is a dream team, conjuring up an explosive cocktail of sparring individualism and corporate muscle – Ross Cumming’s delinquent Sid’  THE SCOTSMAN (2024)

The Rape of Lucretia (British Youth Opera)

‘Ross Cumming a clarion, double-dealing Junius’  THE GUARDIAN (2024)

‘Together with Ross Cumming’s deceitful Junius and Harriet Cameron’s radiant Lucia, they contribute to the rich fabric of the production, blending vocal prowess with dramatic storytelling.’  THE PINNACLE GAZETTE (2024)

‘As Junius, Ross Cumming struck me as a baritone with a possible Verdian/Wagnerian future’  HUGH CANNING (2024)

La Traviata (Scottish Opera)

‘Scottish baritone Ross Cumming, whose continued growth as an artist through MMus Opera at RCS into SO Emerging Artist it has been my pleasure to chart on EMR, was a colourful Marchese d’Obigny at the parties in Act I and Act II Scene 2..’  EDINBURGH MUSIC REVIEW (2024)

‘Special mention has to go to the scene-stealing duo of Lea Shaw and Ross Cumming as Flora and the Marchese d’Obigny, both of whom are absolutely hysterical in their slightly sleazy frivolity.’  WEST END BEST FRIEND (2024)

Hansel & Gretel (Scottish Opera)

‘I have had the pleasure of following the career of Scottish baritone Ross Cumming for just over a year now, with fine performances last year in Double Bills from the Royal Conservatoire of Scotland’s Opera School Masters programme and now a Scottish Opera Emerging Artist with a supporting role in ‘The Barber of Seville’ 2 months ago. As the big-hearted Peter (the father), he was charismatic and engaging, whilst his warm baritone made a great first entrance through the audience and was the only principal never once drowned out by Humperdinck’s occasionally weighty scoring. I’ll happily keep watching as he goes from strength to strength.’  EDINBURGH MUSIC REVIEW (2023)

‘baritone Ross Cumming, is a performer of great skill with a rich tone who made Peter, the children’s father, more genial than he can sometimes be portrayed.’  VOX CARYNX (2023)

‘Ross Cumming, Emerging Artist 2023-4, impressed me as Fiorello in The Barber of Seville and a shepherd in Daphne his role as Father is quite small, but his clear and beautifully-produced voice rang out gloriously over the huge orchestra.’  SCOTSGAY ARTS (2023)

The Barber of Seville (Scottish Opera)

‘Ross Cumming as the Officer brings off one of the best operatic mime cameos (watch the eyes!) I’ve seen in ages.’  THE SCOTSMAN (2023)

‘Scottish baritone Ross Cumming, whose performances while studying at the Royal Conservatoire of Scotland I have been delighted to review, is now a Scottish Opera emerging artist and delivered notably as Fiorello and Officer.’  EDINBURGH MUSIC REVIEW (2023)

‘Ross Cumming, on double duty as Fiorello and a very comic Officer, and Ukranian soprano Inna Husieva, as Berta, both excelled themselves.’ BACHTRACK (2023)

Daphne (Scottish Opera)

‘Among the smaller parts, which were all excellently cast, I liked the Scottish baritone, Ross Cumming and the Ukrainian soprano, Inna Husieva, both Emerging Artists for the forthcoming season.’ EDINBURGH MUSIC REVIEW (2023)

‘I liked the characterisations of Ross Cumming as the First Shepherd and Colin Murray as the Third Shepherd especially following their fine performances last year for the Royal Conservatoire of Scotland’s Opera Studio.’ SEEN AND HEARD (2023)

‘An eight-strong shepherd’s chorus led by Ross Cumming added character.’ BACHTRACK (2023)

The Pilgrim’s Progress (British Youth Opera)

‘Ross Cumming was an outstanding Pilgrim. It is a long role, and requires a consistency of performance from the artist. Cumming was a very human, fallible Pilgrim. His great solo scene in prison was finely done, but from his first cry of ‘What shall I do?’ to his reception into the celestial city, Cumming took Pilgrim on a real journey, taking us with him. An outstanding performance.’ PLANET HUGHILL (2023)

‘In the last analysis, Pilgrim’s Progress stands by the vocal and dramatic stature of the singer in the title role. Here we had Ross Cumming who was in full command of the role and both vocally and physically he was able to portray Pilgrim very convincingly. I especially admired his account of the extended solo when Pilgrim is in prison and fully expecting to be executed by the citizens of Vanity the following morning (Act III, Scene 2). At first Cumming portrayed the despair and anguish of Pilgrim, followed by the exalted resolve once he realises he has the Key of Promise which means he can extricate himself from prison. Cumming was splendid throughout this scene…….I would like to think that Cumming might get an opportunity to repeat his portrayal one day, perhaps in a fully staged production…’  JOHN QUINN (2023)

‘One of the highlights was the scene in Vanity Fair, where the singers seem to mock Pilgrim with great gusto taunting him with offers of fleshly delights. Pilgrim in the form of Ross Cumming, stood firm and the chorus joined him in the celestial city, their faces shining with the knowledge of a job well done.’  NORMAN LEBRECHT (2023)

Werther (Grange Park Opera)

‘Dominic Sedgwick is a fine Albert, while Robin Horgan and Ross Cumming, as the louche friends of the Bailiff, bring welcome comic touches.’  THE STAGE (2023)

‘Alan Ewing was a proud Bailiff, while his drinking friends Schmidt (Robin Horgan) and Johann (Ross Cumming) were both credible cameos.’ BACHTRACK (2023)

A Feast in Time of Plague + Four Sisters (Royal Conservatoire of Scotland)

‘Ross Cumming’s Walsingham was superb, both in his rich baritone and acting…Ross Cumming as the lawyer Krumpelblatt was outstanding, both in voice and comic portrayal’ SEEN AND HEARD INTERNATIONAL (2023)

‘Cumming showed again what a fine performer he is, with returning Polish mezzo Wiktoria Wizner (a 2021 graduate) and French soprano Marie Cayeux having the best of the rest of the score.’ THE HERALD (2023)

‘Cumming – as strong a performer here as in the Nyman/Bryars double-bill last year – was the key character in A Feast in Time of Plague as the “President” who sings of the encroaching disease and death as an impetus to enjoy life to its fullest extent.’ VOX CARNYX (2023)

The Man Who Mistook His Wife for a Hat (Royal Conservatoire of Scotland)

‘‘In 2019 I reported from the Dialogues des Carmélites at the RNCM, Manchester where baritone Ross Cumming excelled in the role of Le Marquis de la Force. Cumming works hard at his acting and as Dr. P put his heart and soul into this demanding role and it paid dividends, creating a fascinating character able to shroud himself with significant tension.’ MICHAEL COOKSON (2022)

Marilyn Forever (Royal Conservatoire of Scotland)

‘In ‘Marilyn Forever’ Cumming excels in a constant state of metamorphosis as “The Men”, at one point as her incompatible husband Arthur Miller, at another tempestuously suggestive of previous partner Joe DiMaggio, but mostly he’s a shifting cipher of the species.’  VOX CARNYX (2022)

‘Ross Cumming returns to the stage, in a role termed ‘The Men’ (in Marilyn’s life), later including Joe DiMaggio and Arthur Miller, in what were impressively fine characterisations, both vocally and dramatically.’ EDINBURGH MUSIC REVIEW (2022)

Dialogues des Carmelites (Royal Northern College of Music)

‘Standing out in the male roles Ross Cumming as the Le Marquis de la Force displayed a baritone that was pleasingly clear with an attractive tone.’ THE GUARDIAN (2019)